Get Happy: 100 Years of Judy Garland
Images courtesy of Scott Hedley
In Conversation with Exhibition Curator Scott Hedley
Get Happy: 100 Years of Judy Garland is an exciting new exhibit celebrating the life and legacy of an icon. Curated and Co-Produced by collector Scott Hedley, the exhibit pays tribute to Judy’s career and includes a collection of rare vintage posters, as well as screen-worn costumes, many of which haven't been seen by the public in three decades.
Film Review (FR): For the past 30 years, you’ve been collecting Judy. How did it all start?
Scott Hedley (SH): The collecting began when I was 3 years old. My mom and grandma each bought me one thing for my birthday and then the collection grew from there. When I was a kid, the neighbourhood library was one of my favorite places to visit and the original Oz series by L. Frank Baum were some of my favourite books. I would go back every few weeks and explore if any new books had been added to the library's catalogue. A book that came up during one of my searches was The Ruby Slippers of Oz by Rhys Thomas. The author told a story about a man who had discovered an original pair of Ruby Slippers worn by Judy Garland in The Wizard of Oz. His name was Kent Warner and he was a sort of Robin Hood for Hollywood memorabilia, saving and liberating costumes from all the major studios before they were trashed. We're talking MGM, Warner Bros, RKO—you name it. Costumes were not seen as valuable assets to the studios in the late 60s and early 70s. Kent had the vision to save these pieces and we're very lucky that he did. If it weren't for him, many of the pieces seen at this exhibit would no longer exist. I was so entranced by the story. I promised myself that I would one day own a costume worn by Judy Garland when I grew up.
(FR): The exhibit is co-produced with The Gene London Cinema Collection Trust, where you’ve served as consultant and assistant curator for the past five years. How did this project come about?
(SH): John and I first met when I purchased a Wizard of Oz vest from the Gene London Cinema Collection over ten years ago for my personal collection. About a year and a half ago, we recounted that story, and the conversation naturally led to the Judy Garland costumes we have in both of our collections. We thought it would be a great idea to do something for Judy's 100th and started building the show shortly after.
Judy Garland’s Babes on Broadway gown.
(FR): What can guests expect to experience in the exhibit?
(SH): The first Judy Garland costume I was able to purchase is from Easter Parade, when she walks down 5th Ave with Fred Astaire at the end of the film. I won that costume by accident, and I'm so glad I did. It's one of my favourites. We recently discovered a Wicked Witch blouse that was worn during the flying sequences in The Wizard of Oz. It was worn by Margaret Hamilton's double Betty Danko and I think it's going to be really amazing to see. Other than Margaret Hamilton's Wicked Witch hat (now on display at the Academy Museum), there are no other known surviving witch costume pieces. This is the first time it will ever be seen by the public.
(FR): Is there a piece that’s particularly meaningful to you?
(SH): I love the jacket from Meet Me in St. Louis. I'm originally from St. Louis, and when we found this jacket, I knew it was not only important for the exhibit, but is also representative of where I came from, who I came from, and who I am. Any time I miss my family, I'll put on Meet Me in St. Louis, and I can't believe we have this jacket from it. You can spot it in the film when John Truett proposes to Esther Smith on Christmas Eve. Esther then goes inside to check on her little sister Tootie, who is still up waiting for Santa Claus. Esther drapes the coat over Tootie and sings, Have Yourself A Merry Little Christmas. It's a very important piece of cinema history.
(FR): Which piece would you say has the most interesting back story?
(SH): The most interesting piece to me is the Dorothy blouse worn by Bobby Koshay in The Wizard of Oz. Bobby Koshay was Judy Garland's double in the film and performed a lot of the stunts and any scenes that did not require Dorothy to show her face. Therefore a duplicate Dorothy costume was made for the actress. One of the most famous scenes Bobby Koshay appears in is during the sequence where Dorothy first lays eyes on Munchkinland. Bobby Koshay, with her back to the camera, opens the door from her sepia-tone world, steps out of the camera's frame, and Judy Garland steps into the Technicolor Land of Oz.
The Bobby Koshay Dorothy blouse with other treasures from The Wizard of Oz, including the Betty Danko Wicked Witch blouse.
(FR): What steps are involved in curating a traveling exhibit and how did you prepare your collection for the journey?
(SH): This exhibit was built from the ground up. It's not enough to own the artifacts, you have to also find the museums and venues to bring the exhibit to. The conservation work for the pieces on the exhibit is a story in itself. Garland, even though 4' 10 1/2", fluctuated in weight her entire life. Mannequins her size are impossible to find and each costume is a different size. Each dress form was hand carved to custom fit the costumes we have in the collection. We have a few costume pieces that needed replica elements to complete a full look, and we recreated them using the best costume builders on Broadway. Many of the original three sheet posters in the collection needed linen-backing and framing. Several of the costumes needed conservation work, as they weren't in good condition for display. The costume from Easter Parade for example, underwent three years of conservation work to get it presentable for display. We fully produced every element seen in this exhibit, and we are so proud to share it with everyone on the weekend of Judy's 100th Birthday.
(FR): What do you hope guests will take away from the exhibit — about Judy and her legacy?
(SH): For those who were lucky enough to see Ms. Garland in person, I want this exhibit to remind them of their time seeing her perform live. For those like myself, who have only been able to see her work on film, I hope that these costumes can bring her movies to life. For anyone who hasn't seen one of her films, I hope this exhibit will expose them to an incredible talent who, just by the nature of who she was, shaped so much of American culture as we know it.
The jacket Judy wore for her legendary Carnegie Hall concert on 23 April 1961.
(FR): What’s your first memory of seeing Judy on screen?
(SH): My grandmother is at fault. My grandmother loved old movies and always had Turner Classic Movies on in the background when I would go to visit her. The story goes that she was babysitting me one day and felt that the best way to keep me quiet was to put on The Wizard of Oz. Mind you, I was three with a lot of energy. I was entranced by everything happening on screen: flying monkeys, wicked witches, ruby slippers, and tornados that could whisk people away to other lands. Just like Dorothy, I too lived on a farm. I begged my grandma to watch The Wizard of Oz every time I visited her. My mom and grandma would each get me something related to The Wizard of Oz for my birthday every year and when I got older, we would go antiquing to find anything related to The Wizard of Oz or Judy Garland. It was always a fun scavenger hunt. Now when I watch a Judy film, it reminds me a lot of my family in a way. It brings back wonderful memories of my grandmother, my mother, and my aunt. I have lived in New York City for the past nine years, so whenever I need a pick me up, I put on one of her films.
(FR): How has your admiration for Judy evolved?
(SH): As an adult, I continue to be amazed and in awe of Garland's talent. I recently saw unedited footage from the last episode of The Judy Garland Show—which never aired. Judy was dressed as a clown and unrehearsed, she performed a mime against a melancholy song. It was fascinating to see her process and watch her mind work. If she had more time to rehearse and had the number been choreographed, it would have been one of her most significant performances. But even in its current form, it is a surprising performance unlike anything you will ever see her do. Also Judy Garland and The Wizard of Oz inspired me to go into my current field. I’ve performed professionally as an actor/singer/dancer/pianist since I was fourteen. I eventually moved into production work on Broadway and now work in production in film and television. The Wizard of Oz created a huge interest in the process of how movies are made. I wanted to be a part of that somehow. I feel lucky to be a part of the business and it all stems from my fandom and discovery of these wonderful classic films.
(FR): Get Happy is Hollywood bound for Judy’s centennial. The exhibition debuts on the 100th anniversary of Judy Garland’s birth at a special 10th June birthday gala in Hollywood, California at the historic Wilshire Ebell Theater. The gala marks the reveal of JUDY, a unisex fragrance by cosmetic chemist Vince Spinnato—the only new product approved by and developed with the Garland family and the Garland Heirs Trust in honour of Judy’s 100th. That’s going to be some birthday party.
(SH): All our efforts these past few years in building this show are a testament to our love for this great entertainer. Everything from then until the 10th of June is our way of honouring Ms. Garland on her 100th Birthday. We can't wait to celebrate with her family and debut our exhibit at the release of JUDY - A Garland Fragrance, with never-before-seen costumes from her most iconic movies. This exhibit is for her. These pieces don't create joy sitting in a box. What better time to share her lasting legacy and these beautiful artifacts than on her 100th birthday—at the theater where MGM discovered Judy Garland!
Scott Hedley and Judy’s daughter Lorna Luft at the 100th birthday gala.
SCOTT HEDLEY has been a passionate collector of cinema for over thirty years and is considered one of the world's foremost collectors of Judy Garland costumes and memorabilia. He has served as a consultant and assistant curator to The Gene London Cinema Collection Trust for the past five years. Scott has also served as New World Stage’s Assistant Events Manager and was the Associate Line Producer for Off-Broadway’s Obie Awards. Scott's Broadway and film production credits include: Sister Act, Big Fish, Rocky, Anastasia, and Netflix’s Dash & Lily. His current work can be seen in Lin-Manuel Miranda's In The Heights, as well as The Adam Project, and the upcoming She Said, based on the book by The New York Times investigative journalists Megan Twohey and Jodi Kantor.
Learn more about Get Happy at the exhibit’s official website: https://www.judygarlandexhibit.com/
CHAD KENNERK
